The Belgian composer, vocalist, and multi-instrumentalist Dienne builds songs and soundscapes that portray the images and stories playing behind her eyes. Combining analogue instruments like the oboe, piano, and flute with reverb-drenched vocals and shimmers of processed electronic sources, she creates hazy pieces of music full of the melancholy of remembrance and loss.




Her debut album Addio (2022) was released on Nicolás Jaar’s Other People imprint. Following the passing of her grandmother due to COVID-19, and being unable to properly say goodbye due to travel restrictions, Dienne set out to give her farewell in musical form. The result is a deeply intimate work that channels classical instrumentation through foggy electronic experimentation. Memories, biographies, and family histories merge in this simultaneously sombre and optimistic work, which plays out like a universal and comforting ode to loved ones lost.




In 2023, Dienne was a resident on Radio Alhara, where she hosted a monthly radio hour featuring carefully curated mixtapes. In between 2023 - 2024 she composed the soundtrack for the film installation Conducturis by Mira Sanders and Cédric Noël, a work that reflects on the tension between nature and technology. This project culminated in a full-length album: Conducturis. Released in January 2025 on Cortizona Records.

THEGURUGURU is a Belgian based Borderline Rockband.

Nelle Bogaerts leven draait volledig rond muziek. Als cellist, zangeres en componist wist ze zich doorheen de jaren niet enkel innig verbonden met haar zus – als Lili Grace, met wie ze in 2020 het album Silhouette uitbracht - maar liet ze zich ook opmerken in verschillende theatervoorstellingen en -gezelschappen. Ze werkte onder andere voor Theater FroeFroe (UNDRWRLD, DIVA, Roodhapje, als componist/muzikant), schreef muziek voor de kortfilm Aura en maakte de muziek voor Brain Freeze, van Tim Oelbrandt …

Na de release van Silhouette besloot ze zich opnieuw toe te leggen op een intense studie van de cello, het instrument waarmee ze zich als sinds haar jeugd het best mee wist uit te drukken. Nelle Bogaerts laat zich inspiratiegewijs vooral leiden door een groot vertrouwen in introspectie en intuïtie. Alle muziek ontstaat vanuit het ‘zelf’, gedachten, monologue intérieur en de zelfontplooiing die eruit voortvloeit. Als muzikant/artiest wil ze zichzelf blijven ontdekken en verbeteren, niet enkel als muzikant zelf, maar ook als mens. En die filosofie gaat verder dan het pure muzikantenschap: als muziek/sociatherapeut in het OPZ Geel gebruikt ze haar muzikale bagage om mensen met een psychische kwetsbaarheid te begeleiden in hun artistiek/creative processen. Daarin is het vooral de wisselwerking met de mensen en het zoeken naar wat er schuilgaat achter iemands werk- en denkproces dat haar zo interesseert. Het zorgt telkens weer voor een bijzondere band. 

Wars van het metier blijft ze mens onder de mensen, en het is net die interactie tussen zichzelf en de wereld om haar heen die zorgt voor een quasi onuitputtelijke bron aan muzikale energie. 
Nelle Bogaerts ademt muziek, uit al haar poriën.

Looking back to The Spectors’ previous two years, things have rocketed from Tales of the Unexpected to Mulholland Drive in terms of sheer unpredictability.

By the end of 2012 Marieke Hutsebaut, the band’s bass-player and songwriter, had recorded a handful of haunting bathroom demos which caught the ear of music publisher Strictly Confidential and veteran indie label [PIAS]. Not to mention hundreds of “early adopters” around the world. Touting her catchy, yet spirited and heartfelt material, she quickly assembled a talented live line-up.

Come 2013, The Spectors had joined forces with a publisher, a label and a booking agent, wowing audiences at established Belgian indie festivals such as Dour, Boomtown and Leffingeleuren. A support slot for My Bloody Valentine proved an early high point in the young band’s career.

A hook-up with Chris Urbanowicz, formerly of Editors, resulted in The Spectors’ first self-titled E.P., released at the beginning of 2014. Nico and Dig, the two singles taken off the E.P., remained in the indie charts (Studio Brussel’s De Afrekening) for a combined 18 weeks. Plenty of airplay, positive critical reaction and, to top it all off, a coveted spot on two best-selling compilation CD’s of the revered indie chart show. Not bad for a debut E.P.!

The ensuing Festival Summer, with appearances all over Belgium saw concert-goers singing along to “Losing touch, like Nico did…”, while their passage at Pukkelpop, arguably thé litmus test for upcoming bands, was hailed by Humo as the “perfect Sugababes/Breeders sandwich”. Deredactie.be, the website of Belgium’s national broadcaster, proved equally impressed, predicting “a spot in the Marquee, or even on the Main Stage in a few years’ time”. On the business side, The Spectors struck a management deal with Gentlemanagement, of Triggerfinger and Selah Sue repute.

Recorded during ten days in November at the La Chapelle Studios in the Ardennes, Light Stays Close alternates between poppy earworms with singalong choruses and relentlessly dark, derailing dirges. Sonic surges slamming into off-the-wall walls of sound.

With Stijn Verdonckt behind the mixing desk and Chris Urbanowicz once again in the producer’s seat, The Spectors laid down ten songs that reflect half a century of pop and rock music without ever losing sight of their own, unique sound and identity. From the sixties vibe of Wrong to the 70’s Krautrock groove of Drone, from early eighties new wave like Green-Eyed Monster to the permeating presence of 90’s shoegaze, Light Stays Close is all about soothing melodies and heavenly harmonies crashing into walls of sound.

What 2015 holds, nobody knows, but Light Stays Close should see The Spectors coming into their own, stepping out from relative obscurity onto center stage and into the limelight. As Marieke makes abundantly clear in the eponymous title track: … and I Won’t Go Away. 

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